Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
gothic literature and culture
key elements in gothic stories
elements of gothic literature
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: gothic literature and culture
First Person Narration in Remains of the Day and Wuthering Heights
The primary similarity between these novels is the use of a framing
device which introduces the main plot. However these have different
purposes and affects in each novel, in Remains of the Day the framing
of Stevens journey serves as a setting the scene for the novel as it
starts with a date and the setting of Darlington Hall which is
introduced in the prologue. It also partly introduces us to the
characters of Stevens and Mr Darlington particularly through the
language used by Stevens
"It seems increasingly likely that I really will undertake the
expedition that has been preoccupying my imagination now for some
days" this is the first meeting with Stevens and instantly his class
and character to some degree are made known. Wuthering Heights starts
in the same way but the effect is more directed towards introducing
characters and the setting. It has the feature of introducing the
point the novel is at in terms how the present day fits into the
narrative as it is set in retrospect whereas Remains of the Day has
the effect of moving forward physically but backwards mentally, it
progresses while being in the past while Wuthering Heights seems to
stops in time then go back and come up to date. At the ends of both
novels the frame is completed by Lockwood (WH) who concludes the
narrative and gives his own understanding of them which suggest that
he has misunderstood the story "and wondered how anyone could ever
imagine unquiet slumbers for the sleepers in that quiet earth"
suggesting that he hasn't recognized the turmoil that has gone before
and with the introduction of Catherine and Heathcliffs spectres seems
unlikely to end. The old man ...
... middle of paper ...
...ot hidden "oh my hearts darling; hear me this time,
Catherine, at last!" Which comes after Lockwoods dream in which he
sees Catherine's spectre at the window and even in death they are
portrayed as together "they's Heathcliff, and a woman" which strongly
symbolises the unrequited love between them as Catherine betrayed this
and married Edgar but still remained faithful to her love for
Heathcliff and introduces a gothic quality giving the novel a darker
and more unrealistic feel. Another example of unrequited love in
Wuthering Heights is that of Lockwood and his story of why he proved
himself unworthy of a comfortable home. "a real goddess in my eyes,
as long as she took no notice of me" this is quite a sad tale and has
the effect of sympathy for Lockwood as it would seem that he had the
same problem as Stevens of not knowing how to react to other people.
Does turmoil in people promote chaos in the world, or does chaos in the world create turmoil in people? To uncover a single answer to such a question is impossible. Therefore, those who seek a solution find themselves at a stalemate, and the query posed becomes rhetorical. Nevertheless, it initiates another inquiry worth thought and reflection: since the chaotic world is already well established, whether or not a product of human havoc, how is one to escape it and live uninhibitedly? Fences, by August Wilson, The Awakening, by Kate Chopin, and Wuthering Heights, by Emily Brontë embody people who struggle against the chaos in the world to be rid of personal turmoil. The characters in the novel took different approaches to find and free their innermost selves in the midst of societal disorder, and the ultimate resolution depended on each person's nature, strength, permissiveness, and courage. Troy Maxson in Fences employed blame and denial, The Awakening's Edna Pontellier, rebellion and acceptance, and Heathcliff and Catherine Earnshaw of Wuthering Heights applied passion, as tools to search for individual peace in an otherwise cluttered survival.
back at him to impress Cathy and to show he could not be joked about.
Heathcliff in Wuthering Heights by Emily Bronte. The central conflict in the novel "Wuthering Heights" written by Emily Bronte is Heathcliff. Heathcliff's internal conflicts affect how all of the other characters interrelate. Heathcliff throughout the book never does anything honorable or dignified.
From the time that Emily Bronte penned Wuthering Heights in 1847 to the time that Virginia Woolf wrote A Room of One's Own in 1929, the 80 plus year period brought tremendous change to literature and for women authors.
Wuthering Heights is one of the most critiqued and popular works of the mid-nineteenth century. Wuthering Heights has never been easily categorized into a certain genre, having elements from both the Gothic and the Romantic literature. Wuthering Heights, also utilizes the literary technique, frame story or frame narrative which is a story within a story. The frame story of Wuthering Heights is of Lockwood, who introduces us to Heathcliff, his landlord, and to Nelly Dean. Nelly Dean becomes the narrator of the novel and tells stories of the Linton and Earnshaw families and their lives at the houses Thrushcross Grange and Wuthering Heights. The majority of the novel is from Nelly’s point of view, which brings up multiple questions. How is truthful
Identity is how we define ourselves, how we see ourselves within our communities and it is what we portray to others. In the novel Wuthering Heights by Emily Brontë the eloquent use of language allows for the true portrayal of the identities of all the characters in the story. Emily uses anecdotes and metaphors to portray her characters in all their glory. Wuthering Heights is about the consecutive search for one’s true identity by two primary characters. This essay will specifically focus on Catherine and Heathcliff’s search for their identities. Heathcliff and Catherine both vary in social status as the book progresses, each of their respective sexes play a large role in their identities and the choices they make also influence their final identities; these three main factors are what create the identity problem for both Catherine and Heathcliff.
In the novel Wuthering Heights, author Emily Brontë portrays the morally ambiguous character of Heathcliff through his neglected upbringing, cruel motives, and vengeful actions.
Despite the fact that English is considered one language, there are many regional varieties called dialects spoken all over the world. Although these dialects are mutually intelligible by English speakers, they are quite different. For example, British English is markedly different than American English. British speakers pronounce words differently and use a different vocabulary. Some words and phrases have different meanings in American English versus British English. One example is the word “bathroom.” If an American were to ask where the bathroom is in a British home, they might be sent to a room with a bath and no toilet, which is probably not what the American wanted. The two dialects may even differ in grammar in some cases. For example, “gotten” is considered correct in American English, but in British English, “got” is used.
Emily Bronte's Wuthering Heights and Joseph Conrad's Heart of Darkness are two similar stories in the effect that they both have dual narrators and that the narrators of both are manipulated to tell stories of similar morals. They differ, however, in the narrative frames, points of view, and some personality traits of the narrators.
A first-person narration provides an interesting perspective on the main action of a story. A narrator can express his/her own thoughts and feelings, which in turn develops a more personal and relatable story to the reader. Raymond Carver often uses this literary point-of-view tactic in his short stories to reveal the traits of the narrator. In "Cathedral," Carver uses conversational tone and diction to reveal the narrator's character; which is prejudicial at first, but becomes empathic by the end. Knowing this narrator's characteristics facilitates the reader's understanding of major components of the story, such as the narrator's hostility to Robert, his loser-like sociality, and the climax of opening up to Robert.
Definitive criteria for judging the success or failure of a work of fiction are not easily agreed upon; individuals almost necessarily introduce bias into any such attempt. Only those who affect an exorbitantly refined artistic taste, however, would deny the importance of poignancy in literary pieces. To be sure, writings of dubious and fleeting merit frequently enchant the public, but there is too the occasional author who garners widespread acclaim and whose works remain deeply affecting despite the passage of time. The continued eminence of the fiction of Emily Bronte attests to her placement into such a category of authors: it is a recognition of her propensity to create poignant and, indeed, successful literature.
Frame narrative is described as a story within a story. In each frame, a different individual is narrating the events of the story. There are two main frames in the novel Wuthering Heights. The first is an overlook provided by Mr. Lockwood, and the second is the most important. It is provided by Nelly Dean, who tells the story from a first-person perspective, and depicts the events that occur through her life at Wuthering Heights and Thrushcross Grange.
Narratology divides a ‘narrative into story and narration’. (Cohan et al., 1988, p. 53) The three main figures that contribute a considerable amount of research to this theory are Gerard Genette, Aristotle and Vladimir Propp. This essay will focus on how Emily Bronte’s novel Wuthering Heights can be fully appreciated and understood when the theory is applied to the text. Firstly, I will focus on the components of narration Genette identifies that enhance a reader’s experience of the text. Secondly, I will discuss the three key elements in a plot that Aristotle recognises and apply these to Heathcliff’s character. In the final section I will apply part of the seven ‘spheres of action’, Propp categorises, to Heathcliff’s character. However, not all of Narratology can be applied to a text. This raises the question; does this hinder a readers understanding and/or appreciation of the text? This paper will also address this issue.
The presentation of childhood is a theme that runs through two generations with the novel beginning to reveal the childhood of Catherine and Hindley Earnshaw, and with the arrival of the young Liverpudlian orphan, Heathcliff. In chapter four, Brontë presents Heathcliff’s bulling and abuse at the hands of Hindley as he grows increasingly jealous of Heathcliff for Mr. Earnshaw, his father, has favoured Heathcliff over his own son, “my arm, which is black to the shoulder” the pejorative modifier ‘black’ portrays dark and gothic associations but also shows the extent of the abuse that Heathcliff as a child suffered from his adopted brother. It is this abuse in childhood that shapes Heathcliff’s attitudes towards Hindley and his sadistic nature, as seen in chapter 17, “in rousing his rage a pitch above his malignity” there is hyperbole and melodrama as the cruelty that stemmed from his abuse in childhood has been passed onto Isabella in adulthood.
Bronte's Use of Language and Setting in Wuthering Heights Between pages 15 and 18 there are identifiable ways in which 'Bronte' uses 'language and setting' to establish the characters and create a distinguishable atmosphere. In this essay, themes, genres and styles will be discussed to show how 'Bronte' establishes the characters; there will also be a discussion of the 'gothic' elements which Wuthering Heights contains. Many people would argue that the style of 'Wuthering Heights' is peculiar and complex, the power of Wuthering Heights owes much to its complex narrative structure and to the device of having two conventional people relate a very unconventional tale. Bronte importantly introduces the element of 'the supernatural' into chapter 3 which is an important technique as it grips the reader. Lockwood has come into contact with the ghost of Cathy, who died 18 years before, Some might argue that she is a product of Lockwood's imagination, and it is clear that Bronte has presented these facts in this way so that the reader can make up their own mind on the subject.